TINI fka Micromelancolié - Robert Skrzyński - @3hdsi - artist who has been active in the polish underground electronic music scene for many years. Undefinable hero. Robert freely moves in many musical genres, able to create both abstract experimental soundscapes and dance structures. Podcast recorded for SKAN Records is a follow up to his program Niebezpieczna Zatoka on @radiokapital: https://radiokapital.pl/shows/niebezpieczna-zatoka/

For many years he had the opportunity to work with artists such as Günter Schlienz, Jean-Sébastien Truchy, Jerzy Mazzoll, Krzysztof Topolski, Lasse Marhaug, Martin Dumais, Mia Zabelka, Michael Bjella, Mimmo Napolitano and Philippe Petit.

Under the Micromelancolié alias, Skrzyński had the pleasure to release recordings on such labels as: Aurora Borealis Recordings, Crónica, Czaszka (rec.), Instruments of Discipline, Monotype Rec., SEAGRAVE, Where To Now? or Wounded Knife.

So far, Skrzyński has presented the effects of his sonic searches at festivals such as: Audio Art Festival, CoCArt, Dni Muzyki Nowej, Klangfest, Re: source, Sacrum Profanum, Sanatorium Dźwięku, Tauron Nowa Muzyka, Unsound, WRO - Media Art Biennale or Wrocław Industrial Festival.

More:
www.coughserenades.net
www.facebook.com/coughserenades
www.instagram.com/fka_micromelancolie
www.soundcloud.com/3hdsi

SKAN Podcast 009: TINI fka Micromelancolié

After daringly raw EP from Ostrowski, Brutality Garden presents „Natury. Vol. 2” - second and thrillingly bombastic part of sonic experiments conducted by an enigmatic group T’ien Lai, which also deeply delves into sounds of African and South American club music. Their new material bordering on industrial gqom and improvised baile is a strong psychedelic experience, which attempts to bring digital music to life. 

T’ien Lai dubbed their music „konk” - an Eastern European longing for rhythm, trance and authentic feeling of community. They find desired sonic qualities in the musical worlds of Angola, Tanzania, Brazil, Mexico, Portugal and South Africa with their complex polyrhythmic structures, non-obvious syncopations and reckless sampling techniques. In T’ien Lai these qualities meet with inherently punk attitude of the band’s members. Despite the electronic nature of their music, it is mostly created during live rehearsals and improvisations on stage as a result of performance clashes, feedback loops and mutual inspirations. T’ien Lai’s experiments don’t focus on meticulous analysis of the sources of their fascinations, but rather rely on permanent stimulation and bodily sensations.  

How much they progressed, can be heard in the opening track „Sangue e Pele de Cobra” featuring Crizin da Z.O. Distinctive baile funk rhythm is immersed in the sonic ocean of rich textures, glittering with each drum beat. Brazilian rapper’s resolute flow in a beautifully musical Portuguese language combined with a blaze of sounds, gives almost synesthetic sensations enabling to experience the touch of the snake from the song’s title on one’s skin. 

Music’s live quality is emphasized by a smooth transition into „boRdo”, a melodic gqom track traversed by unexpected glitches, full of background noises, reverberations and dark, night-like depth. The track’s powerful drone hums ominously against sonic insanity unleashed among synthetic smudges, cracks and vortices. Musicians themselves explain that to reach such an intense state of rapture, they use masks during live performances, which help them forget about their identities and social hierarchies. In this way they turn into avatars rummaging through some non-existent digital land. This track constitutes center of the record along with „HoL”, second gqom piece, which in turn juxtaposes sonic eeriness with euphoria and elevation connected to dance. Almost angelic voice hovering over the song gives the listener a feeling of katharsis worthy of the greatest titans of post-industrial music. It also reminds of the beginnings of T’ien Lai, a project that has always been focused on searching for „a positive darkness”. In the hands of T’ien Lai euphoric gqom quickly transforms into a totalistic wall of beautiful noise. 

Album’s closing track „Lustra” instead of relief brings a whole constellation of short circuits and defects woven into afro house structure, thus still maintaining a state of tension. Ceaselessly grinding and interweaving various rhythms T’ien Lai finish the second part of „Natury” working up an appetite for more, since each of the album’s motifs could easily last for hours.

Album’s fluid and live nature is not a coincidence. New T’ien Lai is not only a new sound, but also once again a new line-up. At the moment band consists of the group’s founders: Jakub Ziołek and Łukasz Jędrzejczak as well as a new member Qba Janicki - well-known jazz and experimental improviser. Since the droning debut released a decade ago on which musique concrete met with kosmische electronics, it is yet one another change of style in the history of the band that used to be one of the pillars of Milieu L’Acéphale collective along with Stara Rzeka and Innercity Ensemble among others, while today along with Ostrowski and Alameda is shaping the sound of Brutality Garden.

music & mix: Łukasz Jędrzejczak & Jakub Ziołek
mastering: Jakub Ziołek
gfx: Piotr Bukowski

T'ien Lai - BoRdo

dmg.edits_18-24

ClairoSpecs

Welcome to Brutality Garden. Art of the peripheries. On the edge of capitalism. Molecular music label. Konk factory. Est. 2020. Booking/inquiries: acphale@gmail.com

T'ien Lai - BoRdo

Brutality Garden

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